In Simone, the essence of the title character is nothing more than the combination of "ones and zeroes," as Viktor Taransky (Al Pacino) would say. She's only as real as her computer-generated image, but that's enough to convince everyone else that she's flesh and blood. It's an easy premise to understand: "Hey, if I see her on TV, she's got to be real."
Director Andrew Niccol explored the artificial nature of reality in his last screenplay, The Truman Show. Working on Simone, Niccol wanted to fool the audience by confusing their perspective on reality, similar to the way Truman was tricked into believing the falseness of his surroundings. Our brains were supposed to be wracked wondering whether the alluringly real Simone was truly a computer-generated actress, or played by an actual person and for a moment before a few shrewd reporters figured it out, Niccol got what he wanted. Here's a sample conversation of some filmgoers who left last Wednesday's advanced screening:
"She's a very beautiful actress."
"No, she's not really real."
"Oh yes she is, she's a real actress."
For everyone who doesn't follow the news and wants to judge for themselves, Simone's true identity won't be revealed here. But that's really a small distraction from the main problem of the movie. Niccol doesn't simply revel in instilling mystery to Simone's audience. Instead, he tests their patience.
Taransky is a director past his prime. His studio executive and ex-wife Elaine (Catherine Keener) says his movies are no longer bankable, probably because he spends too much time directing pretentious art house-style films. His current project is about to go under because his spoiled lead Nicola Anders (played spectacularly by Winona Ryder) quits. A very funny opening scene in the movie depicts Taransky removing the red Mike & Ike's from her candy dish and blowing out the tires of a trailer just so hers can be taller.
Dissatisfied with slaving over the whims of actors, Taransky decides to save his film by replacing Anders with Simone, or rather, Sim One, the computer program that produces the photo-realistic actress. The studio and public go nuts over Taransky's beautiful new star, which places him in the awkward position of validating the life of an actress that only exists on a hard drive. And because this is a movie and not reality, Taransky successfully convinces the Hollywood community that she's "very private," shuns publicity except via satellite, films without a cast, and does her own stunts, including a fall from a plane.
Half the strength of the film rests on Pacino's shoulders. Very rarely does an audience ever see one of Hollywood's most forceful actors in such a weak position. It's a far cry from cocaine-snorting, shotgun-wielding Tony "Scarface" Montana. Like Dr. Frankenstein, Pacino is a foolishly stubborn sap, misguided in his creation of an artificial life form.
But age has proven his ability to take on a different role in Simone. Like Ozzy Osbourne, Pacino's face bears a perpetually bewildered expression. His foolishness sets him up for disappointment later in the movie. Although he created Simone to bolster his own reputation, the public only cares about the actress and this is where the movie falls apart.
As a character study symbolic of Pygmalion (which the film directly references), Simone works, but unfortunately Niccol is far too concerned with the world around him. Except for Taransky's daughter Lainey (Evan Rachel Wood), every character becomes a slavish idiot, obsessive over an actress they can't possibly know.
Put it this way: towards the end of the movie, Simone becomes Time Magazine's "Woman of the Year." Even when Taransky purposefully tries to destroy his monster by having her say inane statements in interviews, the public loves her for "speaking her mind."
It's as if Niccol believes that we're nothing but a bunch of morons. What is plausible is that someone can fool people into believing in the existence of a fictitious celebrity. What's implausible is that the public can fall in love with a person to Princess Diana-like proportions in so short a time.
In the last half hour, the story spirals out of control by developing a publicity circus over a ridiculous idea. Instead of ending, which it could have done at any point before this, Simone drags on, forcing moviegoers to wonder how much longer until they can return to the real world.
